Tag Archives: Joslyn Castle Trust

Featured Event:Feb. 10 (7-9 p.m.)Dancing With the Omaha Stars
Ralston Arenadancingwiththeomahastars.com
It’s back! Omaha stars Tony Veland, Chinh Doan, Jared Robinson, Miss Omaha, and others will strut their stuff in front of a panel of judges that includes Tom Osbourne, Mayor Jean Stothert, and Todd Schmaderer. While the Mirror Ball goes to the dancer who scores the highest, the other revered trophy in this contest is the Bella Award, given to the star who raises the most money for TeamMates.

A house hunting expedition 30 years ago, spurred by the needs of their growing family, eventually led Maureen and Jim Waldron to tour a Spanish-style home of ivory stucco on South 56th Street between Farnam and Harney streets in Omaha’s historic Dundee-Happy Hollow neighborhood.

The size and openness of the living room with its honest-to-goodness slate floor—a testament to 1925 architecture—decorative tiles, carved wood, and wrought-iron accents throughout the house, not to mention several bathrooms, appealed to both their aesthetic and practical senses.

But nothing prepared the couple for what they saw when they passed by the dining room and reached the stairs leading to the second floor.

A mural of a cornfield, in shades of green and accented with gold leaf, filled the east wall adjacent to the staircase and followed the wall’s narrow angle upwards. A second mural of a barn and rustic fence covered the entire wall facing the bottom of the stairs. The artist camouflaged the light switch by making it a part of a fence post. Connecting the two oil paintings, there is a continuation of the field along a narrow strip of wall between the ceiling and the frame of a door leading to the kitchen.

Who painted it and when? The Waldrons didn’t know, but they believed only a professional hand could have created something so unique, so vibrant, and so unexpected. Not everyone touring the house that day shared their sentiment.

“Well, this thing is going to have to go in a hurry,” a woman sniffed to her husband, waving her hand dismissively toward the mural.

Maureen remembers closing her eyes and thinking, “Oh please, don’t let this woman get this house. We may not get it, but she doesn’t deserve this house.”

The Waldrons prevailed and so did the painting.

Shortly after moving into their new home, a neighbor, who happened to be an art appraiser, walked across the street and asked Jim and Maureen, “You haven’t touched that mural, have you?”

She had good reason for concern.

The staircase cornfield, the neighbor informed them, was drawn by artist Eugene Kingman. He and his family moved to Omaha in 1946 and lived in the house through the early ’70s, during his tenure as director of the Joslyn Art Museum.

The name Eugene Kingman didn’t ring a bell with either Maureen or Jim. But from that day forward, the couple’s son and daughter, ages 2 and 4 at the time, heard “don’t put your hand on the painting!” every time they climbed the stairway to their rooms.

For the next 24 years, Jim built his law practice and Maureen worked in corporate public relations before co-founding the online ministries program at Creighton University, their alma mater. In 2011, Maureen finally found the time to “Google” Kingman’s name and write letters. She realized that he painted more than just walls in Omaha—her research and perseverance proved a catalyst for a chain of events that still resonates from Omaha to New York City.

Kingman, she discovered, had already won awards as a cartographer, painter, and muralist when (in 1946) then-publisher of The New York Times Arthur Hayes Sulzberger commissioned him to paint a 20-foot-long mural for the newspaper giant’s newly renovated lobby on West 43rd Street in New York City.

That same year, Omaha came calling with a job offer at the Joslyn.

“He asked for—and got—permission from the Joslyn, his new employer, to do the high-profile mural for the Times,” Maureen says. “We have pictures of him painting the mural in the Joslyn. We now believe he painted it in one of the Joslyn’s galleries, not the basement.”

Kingman’s iconic post-war mural, a depiction of the Northern Hemisphere as viewed from space, greeted famous newsmakers and crusty news reporters in the Times lobby for more than 40 years before winding up in storage for another three decades.

With the help of the muralist’s two daughters, Elizabeth Kingman and Mixie Kingman Eddy, Maureen and a group of Omaha friends persuaded the Times to part with the mural. In 2014, a rolled up, dusty, and nicotine-filled canvas arrived in Omaha, donated by the Times to the nonprofit Joslyn Castle Trust. Kingman’s newly restored work now hangs in the W. Dale Clark Library downtown.

Having shined a light on an under-appreciated talent, Maureen, in turn, became enlightened on the origins of the staircase mural.

Kingman, a native of Rhode Island, “fell in love with the Midwest and West when the U.S. Department of the Interior commissioned him to paint seven national parks while he was an undergraduate at Yale,” Maureen says. “He absolutely loved the openness of Nebraska and loved to paint cornfields.”

So when his wife, Betty, lamented that their little daughters were leaving dirty fingerprints on the ivory stucco walls along the staircase, Kingman did what any self-respecting muralist would do: He painted what Mixie would later call “magical cornfields” to hide their fingerprints, thus enabling Mixie and Elizabeth to continue touching the wall—a luxury the Waldron children never had; nor does the next generation.

Sarah and George Joslyn came to Omaha for the same reasons people do today—job opportunities. Originally from Vermont, they arrived here in 1880. George earned $18 per week as manager of the Western Newspaper Union (WNU); as a new century dawned, he was president of a burgeoning conglomerate. The couple moved comfortably among Omaha’s wealthy and powerful elite and made plans for their dream home, which would become the crown jewel of Omaha’s Gold Coast neighborhood.

The Joslyns’ fabled life ended long ago, and no descendants live in Omaha. Still, their positive influence in our community can be felt by thousands of Omahans: by the artists who found inspiration at Joslyn Art Museum, the children who found homes through the Child Saving Institute, the students who reached their goals at UNO, the fellow church members at First Unitarian, and the strays who found some tender loving care at the Nebraska Humane Society; women and children in dire circumstances, soldiers away from home, and people old and alone—in fact, all of us have inherited the legacy of the Joslyns’ success, ideals, and vision.

“The Joslyns were a power couple,” says Daniel Kiper. “Both had intellect, drive, and ability, and they shared common goals.” Kiper probably knows the Joslyns as well as anyone can who’s never met them. After serving as a docent and board member for the Friends of Joslyn Castle, the Joslyns’ majestic home, he researched and wrote The Joslyns of Lynhurst. “I visited Joslyn Art Museum often as a child,” he says. “I felt I owed a debt to Sarah, who allowed me to see beyond the world I lived in.”

Portrait of Sarah Joslyn, 1941, oil on canvas, by Leopold Seyffert

Omaha proved to be the right place for the Joslyns, and they’d arrived just when the nascent city was ripe for opportunities. Ambitious, canny, and charming, George expanded and diversified WNU’s niche in newspapers and added properties, investments, and other ventures to his hand. Julie Reilly, executive director of Joslyn Castle Trust, describes George as “the Ted Turner of his day.” In 1893, he purchased a five-and-a-half-acre farm at 39th and Davenport streets. Landscaping began at once, but it would be 10 years before the house was finished. And when it was, the public gave it the name it has been known by ever since: Joslyn Castle.

“The Castle,” house and grounds, was lavished with luxury and reflected the Joslyns’ tastes: trees and shrubs, (many exotic, watered by underground pipes), a swimming pond, a conservatory for their orchid collection, stables for thoroughbred horses, a carriage house, and other outbuildings. The 34-room house, designed by John McDonald in Scottish Baronial Style, cost $250,000 to build, plus $50,000 in furnishings. The house had its own conservatory, music room, gym, bowling alley, even a lavatory for their Saint Bernards’ muddy feet. Sarah’s favorite room was the morning room, with personal photographs on light blue walls and a unique flower-display window.

Kiper says they certainly enjoyed themselves, indulging their interests in art and music, animals, travel, and entertaining. But they took the idea of noblesse oblige seriously: They gave to the community in both money and deed. Kiper cites numerous examples in his book, including their support of the Old People’s Home. Learning that the founder was near death and despaired of reaching her goal of new quarters, the Joslyns visited her with a property deed and $10,000. Once the new home was in operation, Sarah could be found sweeping the floors.

In Joslyn Art Museum: A Building History, former director Graham Beal includes a history of the Joslyns. “They were an extraordinary couple…who contributed so much to the early social, artistic, and intellectual life of Omaha. In my mind…[I picture Sarah as] a highly intelligent, unpretentious yet sensitive woman.” Beal describes Sarah’s charitable involvement in projects such as opening her home for fundraisers, serving on boards and commissions, and a variety of efforts during World War I. Always there was that combination of public roles and personal response; she did what needed to be done.

Wanda Gottschalk, chief development officer of Child Saving Institute, describes her image of Sarah as “a very, very bright woman who was frustrated by lack of opportunities for women.” In addition to donating $25,000 for a new building, Sarah served on CSI’s board, rocked babies as a member of the Nursery Committee, and invited the children to picnics on her home’s park-like grounds.

“It may have been one of those occasions where she met Violet,” Gottschalk says. In 1897, five-year-old Violet came to live with the Joslyns; she would become their cherished daughter and the princess of Joslyn Castle. In 1913, seven months after the horrific Easter Sunday tornado devastated Joslyn Castle, Violet was married in the renovated, flower-filled rooms.

After George’s death in 1916, Sarah’s focus became a memorial that would honor her husband, represent his values, and provide a permanent home for the arts. She held fast to his idea that, as their wealth had derived from Omaha, it should, in some form, be returned to the city for the benefit of its citizens. Jack Becker, Joslyn Art Museum’s executive director and CEO, notes, “Sarah Joslyn built the museum as a memorial to her husband and gift to the people of Omaha. She was very clear from the beginning that her wish was for the museum to be enjoyed by as many people as possible, for as long as possible. Sarah lived to see the museum’s first decade, during which time an admission fee was never charged. The policy of free admission continued for another 25 years after her death in 1940, and we are proud to return to it this year.” Free general admission was reinstated in May 2013.

On opening day, Nov. 29, 1931, Sarah gave us not only the Joslyn Art Museum but its future in saying: “If there is any good in it, let it go on and on.”